The annals of post 9/11 war on terror, globally, encompass the destruction and distortion of fundamental Anglo-American political constitutional principles in place since the 17th century.

“Atrocity Exhibition” opens with the mob killings of 6 muslim Rohinga refugees, from Myanmar, for their alleged connection with the Islamist elements in Bangladesh; the phallic gaze of the camera penetrates in on another mob execution scene of an minority–Hindu–man being hacked to death by government supported students.

“Atrocity Exhibition” privileges mood and lyricism over narrative; although I mined Alejandro Jodorowsky and, Jonas Mekas for visual ideas but,I have attempted to use tools of the lapsed genre of documentary photography to topple a false structure that describe life on screen.

On one hand,I tried to subvert the arrested relationship(s) between national trauma and, the understanding of images that ensued a foreclosure of the empathic doxa of the audience; empathy that, we assume is rooted in the recognition of a shared system of values between audience and the filmmaker: the world of “Atrocity Exhibition” is insular and,devoid of any feeling or comfortable description.

On the other hand, there are 2 disjointed small-scale dramas qua a failed state’s engagement with extra judiciary killing, number of which exceeds 300, officially, since 2009; among the disappeared and killed are prominent opposition party leaders, intellectuals and, worker rights activists like Aminul Islam–on whose behalf the AFL-CIO was campaigning to overturn U.S.-Bangladeshi trade preferences due to total disregard for textile workers wages and rights.

Please forgive me, if I make it sound like “Atrocity Exhibition” has a slant to sale.

Albeit, portraying this atmosphere of total impunity, “Atrocity Exhibition” doesn’t attempts to hint at what hide behind government’s draconian measures, the harsh reaction and the hostility towards civil society groups.
(It is worth remembering that, following the July 2012 publication of a Human Rights Watch report on the 2009 Bangladesh Rifles mutiny, Bangladeshi officials threatened action against domestic rights groups who had helped conduct the research.)

“Atrocity Exhibition” stages an investigation in the regime of images–in the intersection of state power, archiving of information, security panic–that construct the public perception of State endorsed terrorism.
…The innocent dies; there are no resistance or moral outrage, no bereavement, only the subjectivity of the viewers are implicated to trigger a quite exoneration.